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THE  USE  OF  THE  FUGUE  IN  THE  MODERN  ORATORIO 


By 


NELLE  ALMEDA  KIRBY 


THESIS 

FOR  THE 

DEGREE  OF  BACHELOR  OF  MUSIC 

IN 

MUSIC 


SCHOOL  OF  MUSIC 
UNIVERSITY  OF  ILLINOIS 


1921 


•V 


s 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/useoffugueinmodeOOkirb 


THE  USE  OF  THE  FUGUE  IN 


MODERN  ORATORIO 


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Table  of  Contents 


Page 


Bibliography i 

Part  I 

Introduction 1 

Part  II 

List  of  fugues,  etc 6 

Part  III 

Conclusion 22 

Part  IV 

Examples  of  fugues 24 


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BIBLIOGRAPIIY 
Books  and  Dictionaries 

Grove’s  "Dictionary  of  Music  and  Musicians" 

Stainer  and  Barrett  "Dictionary  of  Musical  Terms" 

Music  and  Musicians  - "Oratorios  and  Masses" 

Theodore  Baker  "History  of  Musical  Terms" 

Gaddis  "The  Development  of  the  Dorm  of  the  Vocal  Dugue" 
Higgs,  James  "Pugue" 

Matthews,  W.  S.  B,  "Popular  History  of  Music" 

Soetschius  "Applied  Counterpoint" 

Spitta,  Philipp  "The  Life  of  Bach" 

American  History  and  Encyclopedia  of  Pamous  Composers  and 

their  Works 

Music 

Cyclopedia  of  Music  and  Musicians 
List  of  Oratorios  examined 

1,  Beethoven--The  Mount  of  Olives 

2,  Brahms --Requiem 

3,  Benedict — St.  Peter 

4,  Bennett --The  Woman  of  Samaria 

5,  Costa--Eli 

6 , Dvorak--Sta"bat  Mater 

7,  Dvorak — St.  Ludmila 

8,  Elgar--The  Apostles 

9,  Elgar--The  Kingdom 

10.  Elgar--The  Dream  of  Geronitus 

11.  Gounod--The  Redemption 

12.  Gounod--Mors  et  Vita 


ii 


13. 

Haydn--The  Creation 

14. 

Haydn--The  Seasons 

15. 

Liszt — Legend  of  Holy  Elizabeth 

16. 

Liszt--Christua 

17. 

Mendelssohn--Eli jah 

18. 

Mendelssohn — St,  Paul 

19. 

Macfarren--St , John  the 

Baptist 

20. 

Mackenzie— The  Rose  of 

Sharon 

21. 

Parker- -Mo rven  and  the 

Grail 

22, 

Patten — Isaiah 

23. 

Paine--St.  Peter 

24. 

Rubinstein— Paradise  Lost 

25. 

Rossini--Stabat  Mater 

26. 

Schumann — Paradise  and 

the  Peri 

27. 

Spohr--The  Last  Judgment 

28. 

Spohr --Calvary 

29. 

Sullivan — The  Prodigal 

Son 

30. 

Sullivan--The  Li^t  of 

the  World 

31. 

Saint-Saens- -Christmas 

Oratorio 

32. 

Verdi --Requiem 

Part  I 


INTRODUCTION 

Before  proceeding  with  the  subject  proper  it  will  be 
necessary  to  have  some  concrete  knowledge  about  the  fugues. 

Grove's  "Dictionary  of  Music  and  Musicians"  defines  the 
fugue  as  a "movement  in  v/hich  a definite  number  of  voices  combine 
in  stating  and  developing  a single  theme,  the  interest  being 
cumulative , " 

The  word  "fugue"  comes  from  the  Latin  verb,  "fugare", 
which  means  to  put  to  flight,  the  idea  being  that  one  voice  of  the 
fugue  is  pursuing  the  other  voices.  Every  development  of  the 
fugue  is  more  or  less  directly  dependant  upon  the  principle  theme 
or  subject.  The  main  idea  of  the  fugue  is  that  of  one  voice 
contrasting  with  other  voices.  In  order  that  there  may  be  this 
necessary  contrast  a fugue  must  be  written  in  a definite  number  of 
parts,  at  least  two. 

Eugues  may  be  classified  as: 

1 . Real 

2.  Tonal 

3.  Eughetta 

4.  Eugues  of  Imitation 

5.  Irregular--merely  pieces  in  fugal  style. 

Every  fugue  must  have: 

I,  A subject 

II.  An  ansv/er 

III.  May  have  a counter  subject 

IV.  Sometimes  a strettt) 

In  addition  to  these  constituents  which,  with  the 
exception  of  the  stretti,  are  absolutely  necessary-  there  are 


-2- 


other  conti'apuntal  devices  for  the  purpose  of  sustaining  the 
interest  such  as: 

V.  The  episode 
VI , . The  codetta 
VII.  The  pedal  point 
VIII,  The  coda 

In  general  structure  the  fugue  is  made  up  of: 

IX,  Exposition 
X,  Development  section 
XI.  Recapitulation, 

I,  The  subject  of  a fugue  is  the  chief  theme  or  melody 
upon  which  the  entire  fugue  is  based.  It  should  have  the  following 
basic  characteristics: 

(a)  Moderate  length. 

(b)  Freedom  from  modulations  except  in  the  dominant 
of  the  principal  key. 

(c)  Should  be  easily  recognized  wherever  it  recurs. 

(d)  Follov;ing  the  rule  of  a melody,  fugue -subjects 
may  begin  on  any  part  of  the  measure  but  should 
generally  end  on  an  accent. 

(e)  Scale  passages  are  frequent  in  fugue  subjects. 

II.  The  answer  is  primarily  a transposition  of  the 
subject  into  the  key  of  the  perfect  fifth  above  or  fourth  below 
the  key  of  the  subject.  The  relation  of  a subject  to  the  answer 
determines  the  character  of  the  fugue. 

An  Answer  to  a fugue  may  be  real  or  tonal , 

A Real  Answer  is  an  exact  transposition  of  the  subject 
one  fifth  above  or  a fourth  below  the  original  key. 


-3- 


Example — Real  Eugue 


A Tonal  Ansv/er  is  a modified  transposition  of  the  subject 
which  really  resolves  into  answering  the  dominant  by  tonic  and 
the  tonic  by  the  dominant. 


Example--Tonal  Eugue 


III,  THE  COUNTER-SUBJECT  is  a supplementary  melody 
intended  to  accompany  the  subject  and  ansv/er.  As  the  accompaniment 
must  sometimes  be  placed  in  an  upper  and  sometimes  a lower  part 

it  is  necessary  that  the  subject  and  counter-subject  be  written  in 
invertible  counterpoint,  generally  of  the  octave.  The  counter- 
subject (or  second  subject)  of  a double  fugue  is  in  all  respects 
as  important  as  its  companion  subject. 

IV.  THE  STRETTO — Stretto  is  derived  from  the  Italian 
verb  "stringers”  meaning  to  bind  together.  It  is  the  narrowing  of 
the  interval  of  time  between  the  subject  and  ansv/er.  In  the  Stretto 
the  answer  may  lead  and  the  subject  reply  a fifth  below,  the 
answer  may  be  at  the  octave  or  both  subject  and  answer  may  be  used 


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in  augmentation,  diminuition  or  contrary  motion.  All  voices  of  the 
fugue  may  take  part  in  the  stretto  , 

V.  THE  CODETTA.  When  the  subject  and  answer  have  been 

developed  to  some  extent  other  voices  enter  in  turn  with  the 
subject  or  answer  alternately;  sometimes  there  is  a duet  between 
two  voices  lengthened  by  a few  measures  before  the  entry  of  the 
third  voice:  This  is  a little  digression  and  is  called  a Codetta, 

VI.  THE  EPISODE.  Intermediate  matter  introduced  as 
contrast  and  relief  to  the  more  essential  parts  of  the  fugue  is 
called  an  Episode  . frequently  the  Episode  is  the  means  of 
modulation.  The  best  episodes  are  those  founded  on  some  motif 
previously  employed  in  the  fugue.  The  individuality  of  the  composer 
is  often  exerted  in  the  Episode, 

VII.  THE  PEDAL  is  a sustained  tone,  usually  on  the 
dominant  or  the  tonic  and  sometimes  both  (in  v/hich  case  the  tonic 
must  appear  last)  upon  which  points  of  imitation  are  constructed. 

VIII.  THE  CODA.  Coda  is  the  Italian  for  tail,  and  the 
part  of  music  to  which  it  is  ascribed  is  expressive  of  it.  The 
Coda  is  used  in  a fugue  to  give  a rigorous  ending  to  the  entire 
composition, 

IX.  THE  EXPOSITION  of  a fugue  serves  as  an  introduction 
of  the  parts,  of  which  there  may  be  from  two  to  eight.  After  all 
the  parts  have  entered  there  is  a short  digression  or  Episode  which 
gives  interest  to  the  composition  and  keeps  it  from  becoming 

mono tonous . 

X.  THE  COUNTER -EXPOSITION  or  DEVELOPITENT  section  is  a 
sort  of  reflected  exposition  in  which  the  subject  and  answer 
accompanied  by  the  counter-subject  are  presented  according  to  some 


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modulatory  scheme  as  suits  the  taste  of  the  composer.  This  is  the 
largest  division  of  the  fugue, 

XI,  THE  RECAPITULATION  is  what  the  word  implies.  In 
this  section  the  themes  are  announced  in  the  original  key. 

Types  of  Euguea: 

1,  A Real  fugue  is  one  in  which  the  answer  is 
throughout  at  the  interval  of  a fifth  above  or  fourth  below  the 
subject, 

2,  A Tonal  fugue  is  one  in  v/hich  the  ansv/er  deviates 
somewhat  from  the  original  subject, 

3,  A fugue  of  Imination  is  one  in  which  the  answer 
is  always  similar  to  the  subject.  In  a fugue  of  this  type  the 
composer  is  at  liberty  to  introduce  changes  and  curtail  the  answer 
as  he  sees  fit.  In  a fugue  of  Imitation  the  answer  may  be  in  tonic, 
dominant,  sub-dominant,  mediant,  sub-mediant,  super-tonic,  leading- 
tone  or  their  compounds, 

4,  The  Eughetta  is  a short  fugue  usually  not  over 
twenty  measures.  Many  four-part  vocal  fugues  v/hich  are  to  be  found 
in  cantatas  and  oratorios  are  of  this  type. 

5,  Irregular  Eugues  or  pieces  in  fugal  style  which 
do  not  adhere  to  all  the  characteristics  of  a real  or  tonal  fugue 
but  still  have  the  ear-marks  of  a fugue, 

A Choral  is  often  introduced  into  a fugue  as  a free 
part  in  the  chorus  "But  our  Lord,"  in  Mendelssohn’s  "St.  Paul." 

J.  S.  Dwi^t  has  written  the  following  on  the  aesthetic 
character  or  expression  of  the  fugue  in  his  article  on  the  Eugues 
of  Bach: - 

"A  fugue  is  the  unfolding  of  a musical  germ;  it  is  the 


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development^  the  opening  out,  the  organic  growth  of  a musical 
thought,  first  lying  latent  in  any  simple  phrase,  according  to  its 
innate  law.  In  its  effect,  as  you  get  it  on  the  grand  scale  from 
a multitudinous  chorus,  it  is  the  theme  echoed  hack  reflected  from 
all  quarters,  till  it  becomes  all -pervading.  As  a form  of  art  it 
is  analogous  to  Gothic  architecture."^ 

"The  fugue  is  a comparatively  modern  development  of  what 
we  now  call  canon,  which  during  the  sixteenth  century  was  called 
fuga.^ 

Johann  Joseph  Fux,  a native  of  Gratz,  Styria,  who  lived 
from  1660  to  1741  and  who  was  a master  of  composition  and 
interweaving  contrapuntal  forms,  was  perhaps  the  earliest  composer 

'Z 

to  develop  the  fugue. The  "Gradus  ad  Parnossum,"  a treatise  on 
the  theory  and  practice  of  composition,  was  studied  by  Cherubini, 
Mozart,  Haydn,  not  to  mention  Bach  to  whom  may  be  given  much  of 
the  credit  for  the  development  and  perfection  of  the  fugue  form. 

Part  II 

List  of  Fugues 

Beethoven,  Ludwig  Van 
"Mount  of  Olives" 

5 choruses 

Chorus  #15,  "Hallelujah" 

Tonal  fugue 

Pugue  theme  "Praise  the  Lord,  ye  bright  angelic  choirs, 

"Encyclopedia  of  Music  and  Musicians"  p.  34, 

The  American  History  and  Encyclopedia  of  Music,  p.  217, 

* Cyclopedia  of  Music  and  Musicians. 


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-7- 


in  holy  songs  of  Joy,” 

Voice  entries--S,  A,  T.  B, 

Stretto  B.  S,  Measure  13  and  14 ^ 

46  measures  long, 

Stretto  all  voices  -24-27. 

Benedict,  Jules 
"St.  Peter” 

23  choruses 

Chorus  #2,  ”They  that  go  down  to  the  sea  in  ships.” 

Tonal  fu^ietta 

Pughetta  theme  ”They  that  go  down  to  the  sea  in  ships," 

Voice  entries--B.  T,  A.  S. 

Pughetta  16  measures  in  length. 

Chorus  .^22,  "Praise  ye  the  Lord" 

Pugal  imitation. 

Pugue  theme  "Praise  the  Lord  from  the  earth,  ye  dragons  and 
all  deeps" 

Voice  entries--S,  A.  T.  B. 

Imitation  8 measures  in  length, 

Bennett,  William  Sterndale 
"The  Woman  of  Samaria" 

9 choruses 

Chorus  #13,  "Blessed,  blessed  be  the  Lord  God" 

Tonal  fugue ^ 

Pugue  theme  "And  blessed,  blessed  be  the  Lord  God  of  Israel" 
^*See  appendix,  example  #7, 


-8 


Voice  entries--S.  A.  T,  B. 

I\igue  123  measures  in  length 

Coda — Lomophonic  style--23  measures. 

Chorus  7^19,  "Now  we  believe" 

Real  fugue 

Fugue  theme  "Now  v/e  believe,  we  now,  we  believe" 

Voice  entries--S.  T.  A.  B, 

59  measures  in  length 
Stretto  all  voices  14  to  18. 

Dvorak,  Antonin 
"St.  Ludmila" 

20  choruses 

Chorus  #17,  "Now  all  gives  way  together" 

Tonal  fugue 

Fugal  theme  "Now  all  gives  way  together,  there  is  chaos 
and  all  v/ithin  a gulf  of  sinking,  and  all  is  only  mourning 
and  straying  in  darkness." 

Voice  entries--T.  A.  S.  B, 

Three  voices,  T,  A.  S.  carry  fugue  for  18  m'easures  when 
bass  enters. 

Chorus  #45,  "Mighty  Lord  to  us  be  gracious" 

Tonal  fugue 

Principal  fugue  theme  "Lord  be  gracious." 

Counter-subject  theme  "Mighty  Lord  to  us  be  gracious,  be 
thou  gracious." 

Voice  entries--B.  T.  A.  S. 


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-9- 

JJ^igue  37  measures  in  length. 

Costa,  Michael 
"Eli" 

17  choruses 

Chorus  #10,  "The  Lord  is  good" 

Tonal  fugue 

Eugue  theme  "The  Lord  is  good,  a stronghold  in  the  day  of 
trouble  and  he  knoweth  them  that  trust  in  him." 

Voice  entries — S.  A.  T.  B. 

Eugue  78  measures  in  length 
Stretto  21-25  - B.  T.  A.  S. 

Chorus  #6,  "Blessed  be  the  Lord" 

Tonal  fugue 
Eugue  theme  "Amen" 

Voice  entries--T.  A.  S.  B. 

Eugue  107  measures  in  length 
Homophonic  episode  67-69 
Homophonic  coda  96-107 

Chorus  #35,  "Hold  not  thy  peace" 

Real  fugue 

Eugue  theme  "So  persecute  them  v;ith  thy  tempest,  and  make 
them  afraid  with  thy  storm." 

Voice  entries--B.  T,  A.  S. 

Eugue  129  measures  in  length 

Counter-subject  theme  "So  persecute  them  with  thy  tempest 
and  make  them  afraid  with  thy  storm." 


■i.,*CTy3^'4*t^<fraa^^  .-:xaa:ia^.in.vTMS4»w  ■'■•'  ' ^u«2Ui>.  .■ 


lAi-;  ' » 


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K 


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, I 


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-10- 

Voice  entries--B.  T.  A.  S. 

Fugue  129  measures  in  ?.ength 

Counter-subject  tlieme  "So  persecute  them  with  thy  tempest 
and  make  them  afraid  with  thy  storm." 

Measures  52-55  homophonic  episode  to  key  of  sub-dominant 
Measures  74-129  polyphonic  Coda. 

Chorus  #49,  "Hallelujah" 

Tonal  fugue 

Fugue  theme  "Hallelujah,  amen,  amen,  Hallelujali  amen." 

Voice  entries--T.  B.  S.  A. 

Fugue  116  measures  in  length 
32  measures  polyphonic  Co^da 

Elgar,  Edward 
"The  Kingdom" 

21  choruses 

Chorus  #21,  "Lord,  behold  their  threatenings" 

Tonal  fugue 

Fugue  theme  "Lord,  thoud  didst  make  heaven." 

Voice  entries — B,  T.  A.  S, 

Fugue  22  measures  in  length 

Elgar,  Edward 

"The  Dream  of  Gerontius" 

13  choruses 
Chorus  #32,  "Demons" 

Tonal  fughetta 

Fughetta  theme  "Dispossessed,  aside  thrust,  chuck’d  dovm  by 


>r  ^ ' I 


nrre-w  .mwwTwiHr-j^T.  -n-^t  ‘’'! '( J 

miH' 

r ;»'■ 


v ' .>7 


1li'~ '*iiiih'r*%iiiiiii)i>r^  ' '' 


♦ f;  „-  ■■'  .j™  i"'i<r'j  . f.njpra.r  .m 

^Iv'v‘"  ‘ ''V'.' A' : ■' ■'^v'  T-.,/ '■ 


■<  ’ ' \ ■'  ';! 


'*  '*  "'■_^  V'u  lit.: 


it  ' 'V’ ' 

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SSi'' . ‘ rV  ',, ; • :-  !■  .7' ' ■; 4»;>  v> ! 


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4 


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W*.  . 


..'i. 


-11- 


sheer  might  of  a despot’s  will." 

Voice  entries--®.  T.  A.  S. 

Fughetta  12  measures  in  length 

Gounod,  Charles 

"The  Redemption" 

18  choruses 

Chorus  #3,  "Hymn  of  the  Apostles" 

Real  fughetta^ 

Fughetta  theme  "He,  like  the  Holy  Ghost,  is  one  with  God  the 
Father  in  everlasting  Trinity." 

Voice  entries — B.  T.  A,  S. 

Fughetta  15  measures  in  length 

Haydn,  Franz  Joseph 
"The  Seasons" 

13  choruses 

Chorus  //24,  "What  e'er  the  "blossom’d  Spring" 

Tonal  fu^etta 

Fughetta  theme  "From  thee  0 Industry,  from  thee  springs 
every  good" 

Voice  entries — B.  T.  A.  S. 

Fughetta  19  measures  in  length 

Haydn,  Franz  Joseph 
"The  Creation" 

10  choruses 

See  appendix,  example  #6 


-12- 


Chorus  #3,  "Despairing,  cursing  rage" 

Tonal  fugue 

Fugue  theme  "Despairing,  cursing  rage  attends  their  rapid 
fall" 

Pughetta  18  measures  in  length 
Voice  entries — B,  T.  S.  A, 

Chorus  #11,  Awake  the  harp" 

Tonal  fugue^ 

Pugue  theme  "Por  He  both  heaven  and  earth  and  earth  has 
clothed  in  stately  dress" 

Pugue  45  measures  in  length 
Voice  entries — B,  T.  A.  S. 

Measure  27 — Stretto  in  all  voices 

Chorus  #14,  "The  heavens  are  telling" 

Real  fugue 

Pugue  theme  "The  wonder  of  his  works  displays  the  firraament" 
Voice  entries — B.  T.  3.  A. 

Pugue  35  measures  in  length 
Stretto  in  all  voices  measure  12 

Chorus  #27,  "Achieved  is  the  glorious  work" 

Tonal  fughetta 

Pughetta  theme  "In  lofty  strains  let  us  rejoice" 

Voice  entries — B,  T.  A,  S. 

Pughetta  6 measures  in  length 

Chorus  #33,  "Sing  the  Lord,  ye  voices  all" 

See  appendix,  example  #8 


I ■ 


r' 


-13- 


—a. 


Tonal  fugue 

?ugue  theme  “Jehovah’s  praise  forever  shall  endure." 

Voice  entries — T.  B.  S.  A. 

Counter  theme  "A-men" 

Stretto  measure  13  and  14  in  tenor  and  bass 
Measure  46-58  principal  theme  in  A,  S.  and  B,  v/ith 
counter -subj ect  "Amen" 

Mendelssohn,  Felix 
#Elijah" 

22  choruses 

Chorus  #1,  "Help,  Lord’." 

Tonal  fugue 

Fugue  theme  "The  harvest  now  is  over,  the  summer  days  are 
gone;  and  yet  no  power  cometh  to  help  us." 

Voice  entries — T.  S.  A.  B, 

Fugue  49  measures  in  length 
Measure  42-49  - homophonic  Coda 

Chorus  #22,  "Be  not  afraid" 

Tonal  fugue 

Fugal  theme  "ThoU^  thousands  languish  and  fall  beside  thee 
and  tens  of  thousands  around  thas  perish" 

Voice  entries — A.  S.  B,  T. 

Fugue  82  measures  in  length. 

Stretto  measures  19-21,  A.  B.  S. 

Polyphonic  Coda  40-32. 


■”  yf- 


■73 


V 


Mendelssohn,  !Felix 
”St.  Paul" 


-14- 


20  choruses 

Chorus  #23,  "The  Nations  are  now  the  Lord's" 

Real  fugue^ 

Fugal  theme  "Por  all  the  Gentiles,  all  the  Gentiles  come 
before  thee" 

Voice  entries — T.  A.  1st  S.  2nd  S.  B, 

Stretto  1st  S.  measure  16 
Polyphonic  episode  41-52 

Second  theme  "Now  are  m.ade  the  glorious  le-w  and  judgments" 
Voice  entries — 1st  £l  T.  A.  B.  2nd  S. 

Reappearance  1st  them.e -measure  105 
Komophonic  Coda  measure  139-160 
Pugue  160  measures  long 

Chorus  #36,  "But  our  God  abide th" 

Rea.1  fugue  with  corale  sung  by  second  soprano 

Pugal  theme  "But  our  God  abideth  in  heaven,  hi^  in  heaven." 

Ccrale  enters  in  measure  20  second  soprano  part 

Measure  98-105  homo phonic  Coda 

Fugue  105  measures  long 

Chorus  #44,  "Not  only  with  Him." 

Tonal  fugue 

Pugal  theme,  "Bless  thou  the  Lord,  0 my  soul  and  s,ll  within 
mie  bless  his  holy  name." 

Voice  entries--S.  A.  T.  B. 

‘See  appendix,  example  #1. 


, 


R^ 


,Mi'W 


% 


\ ‘''W' 


"N: 

I 


ltV"^lj|>  •'  " •■■  '^^i'  *,'1;  \ .‘ftev  ' 


j' 


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4H 


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..  ♦ ♦Vi 


t .•  •'■  •■'  ^ ■ ;■  ' -Si  ?^v.Vr^  "'v5 

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n'"'''  - '>■  ‘ 


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'■  -•  ■ ” ■ ■/..■■■  ' • . ' ^r  ;•■  '’^ifl 

■ ' .'■<'  '■' ^’  V*  ’ .’•^■.rp' f V' ■ 

';.  ' A4H-  '•'^  ^'  'iit- 

< c"^v  :,r  ^ '"M 

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; :■  :"s  •Ssiftb-  '■;.>'  ,*v  ■, . * m>^.--^^-iAlBlHLii 

-^.V-  *•;,  ‘ ■ :i?-  *'  ’ A'  • J •;.  ■ ^ 4>^  , ,\v  i . •' 'f  •♦', 

<!!  . ' ••  ,„■•».  ■•f.t-t-'tnWJSi# 

'■■^1^  ‘ 82a  A i , ,■ ;? 


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^^■ya  *'»*-aw^>P>rt¥;;^»t(u  ip  »g  w<i.r«^ytti>L’r 


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1 . ■ . '»'ji . ►/  iH, 


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■i,  -V«'5i^3 

■’“f 


-15- 


Homo  phonic  episode  33-34 

Second  theme  ''All  ye  his  angels  bless  ye  the  I-crd.” 

Voice  entries--S.  A.  T.  B. 

Bugue  59  measures  long. 

Measures  54-59  homophonic  Coda. 

Macfarren,  Walter 

"St.John  the  Baptist" 

7 choruses 

Chorus  7^2,  "Behold  I will  send  my  messinger." 

Fugal  st3'’le  . 

Pugue  theme  "And  he  shall  turn  the  heart  of  the  fathers  to 
the  children" 

Voice  entries--A.  S.  B.  T. 

Bugal  imitation  55  measures  in  length. 

Chorus  #10,  "My  soul  praise  the  Lord" 

Tonal  fugue. 

Pugue  them.e  "My  soul  praise  the  Lord,  Speak  good  of  his 
name . 

Voice  entries — S.  A.  T.  B. 

Pugue  73  m.easures  in  length. 

Mackenzie,  A.  C. 

"The  Rose  of  Sharon" 

19  choruses 
Real  fugue 

Chorus  7#54,  "Sing,  sing  C heavens  and  be  joyful" 


im  t .TTii 


J .1 


pi.:,Wu.i:.H  V •'  , V, 


i>  ^ ' ' •'  A 


ym^ 


pi’  jT‘4.' '-j  -'  ^ ' y>yf^^  •’, vi%  : , ' '■•  ' 


P.  • 


BiSSvjlSR'’''  ‘ ...  »•'>  N* 4i.' » :■  ■ .j'  : St  *S  {-ijfc^-' ■ ' .t 


5’?.v 


c:  vp 


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;<  \ ^*1.'; , , , ^ ^ V .,,  . 


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‘tK\  I •-■  ■,  N .,  ■■ 

[.  "*  ¥*  ■.’1p'5i>«^. ■"■■/: §USA‘^”4^'  / '!^.?i< ’ ' ’<|J-  » - 


F *J™  i;  -- Wf ‘ '•  *;■,.  ■ 7- ’■  ■ »*•>»**; 


‘ 


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gf  . ■ ■*'<.;  ,»  ■ »■.  4;  w.v;?^ n,n-  \ 

a . s 7i:' ■’-:<■ ‘ n'-  ■■>.  ■,■  i*-  '. 'V  ’ ’ 


■■;  - ',:  „ 'Mymmk ' ''  4 , tyw  ■■•kk : 

■■■ 

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- '^x^t'Oi  y'Sm  t'  y ^ 

. ■■  ■ ^ 0 . 


>’3x.'f“>'^*fftT»'  ?',  jtwwjuaip*  : I <\  ijijLi^iH 


,vV.:^.:i 


-16- 


■^gue  tlieine  "For  the  lord  hath  comforted  his  people." 
Voice  entries--T.  A.  S.  B, 

Fugue  38  measures  long. 

Patten,  Willard 
"Isaiah" 

11  choruses. 

Chorus  #5,  "The  Lord  sent  a word" 

Tonal  fugue . 

Fugue  theme  "The  Lord  sent  a v;ord  unto  Ja^coh,  and  it  hath 
lifted  upon  Israel." 

Voice  entries — B.  T.  A.  S. 

Fugue  50  measures  in  length. 

Stretto-  measure  33-36  in  T.  A.  B.  S. 

Homophonic  Coda  measure  36-47. 

Rubinstein,  Anton 
"Paradise  Lost" 

8 choruses 

Chorus  #9,  "Clear  resound.ed  the  trumpets  of  heaven." 

Tonal  fugue . 

Fugue  theme  "Pra,ise  the  Almighty  One," 

Voice  entries--B,  T.  A.  S. 

Fugue  69  mieasures  in  length. 

Rubinstein,  Anton 

"The  Tower  of  Babel" 


12  choruses 


f 


■»  ;TV^ 


' Tvrv  Tt!' 


V . *'1‘ 
V 


,.'*,.-:f;-'.u^.^ 


'.  I 


% 


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•"ft 


Jfs- 

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- Xt-' 


’ V 

;,  ■ ' ■ » • 

’ ./  • ■*  '>-, 

* il  ’■*• 

y '■  *■  :L  ’ /' 

' %•' 

• 

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f 1 . , '•  ' 

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h 

• ’ viL.y  • . . i 

•••  . . ; A 
^ ''"  ■t 


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" ,i' V" ’’  ’ ” 


■>■•/ 


Ik  - ..  » %y 

( 


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L 

4-  ,^j't<ii 


'ire 


< /. 


5. 


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‘v 

»l‘‘3v^‘y  ' TiJL  Mm 


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4. 

i'i- 

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-17- 


Chorus  of  the  people 
Tonal  fugue  for  double  chorus^ 

Fugue  theme  "Ye  must  to  our  great  God  pay  homage  and 
confess  his  boundless  mi^t." 

Counter  theme  "Bow  before  your  Godl  No,  nevermiore,  nevermore, 
no  " 

Voice  entries--B.  T.  A.  3.  Second  chorus  fugue  33 
measures  . 

Rossini,  Sioacchino 
"Stabat  Mater" 

4 choruses. 

Chorus  #10,  "To  him  be  glory  evermore." 

Real  fugue . ^ 

Fugue  subject  "To  him  be  glory  evermore,  amen" 

Counter  subject  "Amen" 

Voice  entries — S,  A.  T.  B, 

Fugue  108  measures  in  length. 

Stretto  all  voices  G4-65. 

Homophonic  episode  94-97 
Subject  original  key  98. 

Polyphonic  Coda  101-108. 

Schumann,  Robert 

"Paradise  and  the  Peri" 

6 choruses 

Chorus  #9  "For  blood  m^ust  holy  be." 


See  appendix,  example  #1 
See  appendix,  example  #5 


I ViriiilTiiriliiiiliii  - . . 


» V.A 


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-18- 


Tonal  fugue 

!Pugue  theme  "For  1)100(3.  must  holy  te,” 

Itigue  56  measures  long. 

Voice  entries--T.  A.  S.  B, 

Spohr,  Ludwig 

’’The  La.st  Judgment” 

9 choruses. 

Chorus  #10,  ’’Blessing  honour  glory  and  pov/er.” 

Tonal  fugue . 

Fugue  theme  ’’Blessing,  honour,  glory  and  power." 

Voice  entries — B.  T.  A,  S. 

Fugue  41  measures  long. 

Chorus  #22,  ’’Great  and  v;cnderful” 

Real  fugue . 

Fugue  themie  ’’Great  and  v/onderful  are  all  thy  v/orhs,  C thou 
Almi^xty  God.” 

Voice  entries--B.  T.  A.  S. 

Polyphonic  episode  measures  20-  25 
Second  them*e  ”How  just  and  true  are  all  thy  commandments 
0 Jehovah’."  . 

Voice  entries — B,  T.  A.  S. 

Measures  37-56  third  theme  "Thine  he  the  kingdom,  power  and 
glory  forever  and  evermore." 

Organ  point  on  V 49-56. 

Measures  50-89  polyphonic  Coda. 

Spohr,  Ludwig 


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t .>w\' 


. '.'V1.‘ 

1.  x -* 


't 


t * ''  * 


^ » 


.i.  ■•.v  v . 


’.  ■ '>'^U'< 


iSi^wls 


; ' 


■»ier.^.-  ■>’»»g 


"y  jyi*  BH8L»atamgB>  ipuv^i..»8i3aRi^^.^.r. 

- ’ , ..  I 


-19- 

" Calvary " 

12  choruses 

Chorus  #11,  "0  thou  Eternal  God.” 

Tonal  fugue . 

Fugue  subject  "Thou  art  his  refuge,  mi^tj’’  in  peril  to  save 
him . " 

Voice  entries — B.  T.  A.  S. 

Polyphonic  Coda  56-90 

Chorus  #15  "0  that  men  could  praise  the  Lord." 

Real  fugue . 

Fugal  theme  "0  that  men  would  therefore  praise  the  I.'Ord" 
Voice  entries — T.  A.  S.  B. 

Second  theme  measure  83-96  "And  declare  the  wonders  that  he 
doeth  to  the  children  of  men.” 

Fugue  96  measures  long. 

SulliATEin,  Arthur 

"The  Prodigal  Son" 

6 choruses. 

Chorus  #18,  "Thou,  0 Lord  art  the  father" 

Tonal  fugue 

Fugue  theme  "Halleluja,h" 

Fugue  33  measures  long. 

Sullivan,  Arthur 

"The  Light  of  the  World" 

17  choruses 

Chorus  #15,  "I  will  pour  out  my  Spirit" 


^ . ,iy^c  ■ ^ 

S®b' ';::Vt;-'  ' “"1^^''!^ 

■ V •>'A  .'■  TO  •:?»•■.•  '•.^'■W}  ^:.  J 


3 


»,*  1 . iV^..»i,*  ^ 

«r»  > - • 


*••’:'•■  V ■ , , ;%^>'3:v'i  »;v4  9<3i.’,tcr  i}4idl{^','jp>ciF 

r.''V^r  »fe  .»iii«ir  eitofti  *.*  fSt.-i*  i»afit'  *>i»<b'  -'jfidi 


'P>j 


y*, 


V * ' . ■ . i^BH  • ,j.,\  .•  ::\-  .ri  / ’ •••  '•  •♦m;  •••'-^^tii 

,..,4t  ^ 9\.--.iQ':>'''  L<!iA'^'  . 


.'  ^-■-'' ' ■ ■ ' % • ‘X- -,, , . • <«««•*  ‘ ■■  e«^,i -fe'' 

^V-- ‘ ■ ' ■'  •■■■’'  > '• 

&-;■  v*<‘:>  -XX  Xi-  ■-■•'.'.'■I  '..'  • .,>••'  'jr>  * i ^>^5i 


P 1 


, :'  C-y  -A  ''m  ;«'?‘^ 

..  "^‘  ' J’..  V%. -i‘-'..  ^ . ‘jv’'  : . 


l£i 


--  V '•  *■  -'f-Ps  ^l^Jr  *W$xh' 


k?, 

'^'  ' ^ -I 


' '/M'' 


F'V  ''^§r.'V  ^■•'  ■ ■ -■'  '■  „ . ., , , 

'■  , ' ■•’  ■'  . jj^Jhllliifi,  ,i:-v  .•  rV-*r  • v’.  1 


.:P 


rg‘w*^W’Wr:.<^^  eiffjjujy;  ■ytik»»MriiMMWiiM||i^^  ; • j ~ iL,'  ifUMiitiiij 


i.vy  mgju  ig 

» ' :■  ■'  '^■•’  ' ■ ^ 


tfi. 


. .-k.  ■ ^ 


. « *<^  1 


-20- 


Tonal  fugue . 

Fugue  subject,  "Ke  shall  stand  and  feed  in  the  strength  of 
the  Lord." 

Homophonic  episode  measure  17-24 
Return  of  subject 
Chorus  #14  "The  Spirit  of  God" 

Tonal  fughetta. 

Fughetta  theme  "Whence  hath  this  man  wisdom  and  these 
miighty  v^orks?" 

Voice  entries--B,  T.  A.  S. 

Fughetta  15  measures  long. 

Chorus  #25,  "Hosanna." 

Tonal  fugue 

Trio  18  2nd  soprano  and  alto. 

Episode  11-16  entrance  of  2nd  theme  "Blessed  is  the  king 
of  Israel  that  cometh  in  the  name  of  the  Lord.” 

Chorus  #42,  "Him  hath  the  Lord  exalted." 

Tonal  fugue 

Fugal  theme  "How  is  come  the  salvation  and  strength  and  the 
kingdom  of  your  God  and  the  power  of  his  Christ." 

Voice  entries — A.  S.  B.  T. 

Spretto  all  voices  masure  27. 

Organ  point  mieasures  48-54  on  tonic. 

Verdi,  Guiseppe 
"Req.uiem" 


9 choruses 


ir- 

i 


1 

I 

I 


i 


ii- 


'i  ■ 


■ T'lr  - f 


■ ■)  : 1 !’ !,  'I  ' J r' 

'■Ziff  ■'fl'i 


l| 


f 


/ 


I , 

:f  ' 


■;  t 

I / ■!• 


I 

■I 


\ i 

M 

I 


• i-i 


> 

it 


i 


-21- 

Chorus  7t4,  "Sanctus " 

Real  fugue^ 

Rugal  theme  "Holy,  holy  holy,  Lord  God  of  Sahaoth” 

Voice  entries--Soprano — 1st  Choir 

Soprano — 2nd  Choir 
Contralto — 1st  Choir 
Tenor  --1st  Choir 
Contralto --2nd  Choir 
Tenor  --2nd  Choir 
Bass  --1st  Choir 
Bass  --2nd  Choir 

Measures  35-27 -polyphonic  episode. 

Measure  38  nev/  theme  enters  — "Blessed  he  he  that  comes  in  the  name 
of  the  Lord." 

Chorus  7f7,  "Lord  deliver  my  Soul" 

Tonal  fugue 

Lugue  subject  "Lord  deli\’’er  my  soul  from  the  doom,  of  the 
external  death  in  the  great  day  of  judgment." 

Voice  entries — A,  S,  B.  T. 

Fugue  176  measures  long 


See  appendix,  examples  #3  and  #4. 


' y *■  ■ a ~ Ailvr  •‘'■■'‘^iU.  '.'i<-,  .. 


Ml 


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|v\  ■ .-.  :>  '■'  ■*:,•• - a « 


h ;;i' ’*?■■  W-M  ''t>\  ?;j 


■A  • >-'^i 

Ek*  A 


V-, 


>-\  ■-  ■ ■ '’ 


u,Tt  '‘JlW  ^ 


. 1;/.' 


-i. 


1^'  ;;'|  <■' " '.  ' / 8 t-lo 

['.»  iijiir  .»  ,:'  •■>  uf»-3  .*i'.’‘  ,«il  .»J. 

''  > »r-,.-;'  ■ . .pi  „'«.  ■ ■ ■ v^,;,^v/^!*^ 


■ -oV-v^' 

V.  Vp  M ' 


A: 


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' . rS^  ' 


V " ’ ■ ^ Til:  i,^ ' ■•^^•.( ' ■: lir&y 

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-riiv  * ■ J ■ 

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’:  *v  ;4  !' 


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•Ti  * L ' > . • V_  M* 


r: 


■■»«iV»:»']jM*j|||ll|^y»»^  I'Uyfy’iitii'.*-  'ii«*‘-=Wty  vaiia.:t.aavi.ta^^v 

■■'*^‘  r .,  . > -'Mra 


-22- 

Part  III 
Conclus ion 

To  the  casual  reader  the  word,  fugue,  means  little  or 
nothing;  it  is  hoped  that  the  introduction  has  given  some  idea  of 
its  main  characteristics. 

The  strict  fugue, — ie — that  of  strict  imitation  at  the 
fifth  above  or  a fourth  below  the  subject  as  announced,  is  very 
fast  disappearing,  from  choral  works  at  least,  and  a canonic 
imitation  which  in  the  early  stages  of  musical  composition  was 
called  fuga  is  taking  its  place. 

In  Haydn's  oratorios  "The  Seasons"  and  "The  Creation", 
which  mark  the  beginnings  of  modern  oratorio  as  we  now  know  it, 
there  is  very  little  of  the  fugal  element.  Mendelssohn  who  was  a 
great  student  of  Bach  who  in  turn  perfected  the  fugal  form  in  its 
strictest  sense  uses  some  fugal  treatment  but  does  not  develop  his 
themes  to  any  considerable  length. 

In  all  the  oratorios  examined  there  was  never  more  than 
one  fugue  of  any  length.  This  fugue  was  most  often  toward  the 
close  of  the  composition  and  had  for  its  principal  theme  phrases 
which  were  more  emphatic  after  the  fugal  repetition. 

The  extremely  modern  composers,  as  for  example  Saint- 
Saens,  do  not  use  the  strict  fugue  at  all  but  employ  rather,  the 
canonic  repetition. 

Modern  composers  are  tending  toward  a greater  realism  in 
their  music  just  as  literary  creators  are  giving  more  attention 
to  content  and  less  to  form.  Th\is,  there  is  every  indication 
that  the  fugue  as  a strict  form  of  musical  composition  will 


MT  'iiit:  IT-  ■>&'! 


f'i 


.1. 1 1 


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noifiT^u  i.u.:  ‘i.^  ",X^; 

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, ■'!|?  • •>■  • B ' " . ..*•  J'  • '■  '■  ■■  ■ ■ *i«  • 

. ■ • . ___ 

■-■■  , ^ ja  -'Im 

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H 

ifc/f 


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gradually  disappear. 

w '‘«'V  ' 


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^ •/*  r-rl 


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r'^rj.pr ■:  - ■ • '. I 

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srf 


V/i-  ’’  'i  •.  > *’>r 

tfltri--- 1>  'V  4 %-‘-vrAA  >/r'-S' . > 


MfcW;»  ';*t,:  »y  '-T  .3;.  I : V..  «%;*  r ^ ;jw  .i.  <;| 


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fa 


-34- 


Part  IV 

Examples  of  fugues 
1.  Mendelssohn  "St.  Paul" 

Real  fugue — Chorus  #23,  "The  Nations  are  now  the  Lord's" 

^ #■„  # 


s 


i 


»'  0 


i==t 


1/ 


s 


+i^aa- 


4irf  <iSiSi 


~i^^a 


^3 


3 


^ ^ # ^ 

V --H-J 


± 


^ 


o^SLSl.  +-feA  c»^iX-jCa*  <^^,0.  ^haJu. 


:x: 


2.  Mendelssohn  "St.  Paul" 

Chorus  #36,  "But  our  God  abideth" 
Real  fugue 


c* 


'-tLofc-  - 


H 


Uij 


V3^rA-«'v 


•^jovaT' 

vXO-t 


-tZ^^tX2i^  v-VO-S? 


J-rs-o  '3u(.^  - - 


«':>  ^ 


.14.  C'^-  j- — - 


!L»Arr’eA«y*. 


si>- 


t.  — r Sirtiv 


|— ic! 


.-X  > - 


Iv-:*  >'?'/ ' ■'•■'’  '■;'  k 

S' ' • t OVt-  '•|^J#|  .u  K^' 

p I ‘ *?3i' 

1^  ‘ti^  -.  rrar,  ■ rJ'''  ' , ■ ■' 


1 


V\ 


...  'S.. 

ri'  '1 ' . 


> , V : ' -r^f' ai  "WJ/ . • V w f'  ' “ w •-  C 

r s'*-  I 


■ ■ '/^  xX‘a 


^ 4 ■ "P;  ■■  V. 

' iSt'"  .'  y/inJk,;'..: ...  v^ 

'>  ■ • . ■ - 

k 


v'Jif'ytov.;  v'/- 


j|4iv.,  'ikiilje/  i:.U  siiftlW'  niiSPA'^  U-iii* 

^ ■ Ve  Y-A-'.^.  4*-*-  rrr- •!*»'  -- Vrt-  ,.  -'^I^  ■ ■ 


y ^,‘K 


k.Tpa  *.'..»  C . %*J^V 

••  >v  ■■^-  fr  •>~r* 

wicak..'  -*i.'^-».f-v  -4V' 


.|‘'1A,-  i '!• 

< v'WLh  ’I 


• i.«  «■•<«>*#•  WUkV.  V-. 


^ ■ - AI>4»  t 

*!k- r . ■ "’^*"r^  ' 


If>l  f 


> 


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■ • '-^  ' ‘ -ihtsri '.  i«i“i a*>*«.6i'8!Mi«4* .»»' 


••?“-4^5I  T si%  ^ .-••.i7'-"\4i , ....«^ 

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1.'  * V 


